Composer: Philip Mantione
Year completed: 2013
Track List and Program Notes
1. Earthquake V1 (10:20) - (2013)
The structure of Earthquake V1 and V2 is derived from earthquake data recorded in California and Nevada during a 24 hour period on 3/23/13, culled from the Southern California Earthquake Data Center at the California Institute of Technology. The duration and temporal placement of seismic events were condensed from the 24 hour period down to 10 minutes. The magnitude, geographic location and depth were used to determine the volume, spatial location, sample choice and/or computer generated sound. These works are spatialized for binaural playback and best heard with headphones.
Earthquake V1 is composed of looped samples made largely with contact microphones which include pins dropping in metal and glass containers, sounds created with a handmade aeolian harp, paper being torn, a ceramic tile being scrapped across concrete and spinning coins. The rumble is a manipulated sample of leaves being crunched.
2. Earthquake V2 (10:03) - (2013)
Earthquake V2 is composed of sounds generated by a synthesizer programmed in Max/MSP that utilizes oscillators, wavetables, envelopes and samples as modulation and sound sources. As in V1, Earthquake data was used to determine entrances of new material over the course of the piece.
3. Deadman Overlook (9:56) - (2012)
This material was originally part of a collaborative sound installation with Daniel Eaton and realized on Mulholland Drive in Los Angeles, California. Eaton wrote separate material based on a predetermined form and each piece was played simultaneously via car stereo speakers at the site. This piece respresents my contribution in a combined form.
4. Human Resistor (15:00) - (2013)
Human Resistor is named after a bent circuit device I built using repurposed consumer electronic circuit boards wired together with random connections and ganged to single audio ouput. The device is activated by physical contact with hands, feet and mouth. The output was manipulated using custom software written in Max/MSP. All content is derived from The Human Resistor with the exception of the drone, built from orchestral samples, that enters at 3:32 and is gradually pitched shifted upwards over the course of 11 minutes. Several overlapped gestural improvisations, looped samples of the device and the drone combine to form three distinct layers of activity. Sounds seem to struggle to reach the foreground, only to be quickly swallowed up by the dense texture and spectral masking. The ever-rising drone creates a tension that is never resolved. This statement is a description of what resulted from a process, rather than that of a manfestation of some preconceived intent. The piece was originally written for Hidden Sounds, an internet radio show on basic.fm hosted by Rodger Boyle. (http://www.basic.fm/the-hidden-sounds/)
N.B. - The title of this collection, Salvatore, is named in honor of my father, who passed away on August 13, 2013 after a long battle with Alzheimers disease.
Philip Mantione has composed music for orchestra, chamber ensembles, computer, fixed media, bent circuits, interactive performance, multimedia installations and experimental video. He writes custom software in Max/MSP to create music that melds field recordings, sampling and computer generated sound into unique sonic textures. His Sinusoidal Tendencies, released on Innova, has been described as "austerely impressive" (Paris Transatlantic Monthly) and "a searing study in form and color." Zane Fischer, of the Santa Fe Reporter, called his interactive sound sculpture, The Human Resistor, "...a satisfying, interactive rabbit hole, in which tactility becomes sound." Mantione’s work has been presented at notable venues such as the Bing Theater at LACMA, Merkin Concert Hall (NYC), Baltimore Contemporary Art Museum, Islip Art Museum, CCA (Santa Fe,NM), SESI' Cultural Centre (Brazil), CCCB (Barcelona, Spain), National Museum of Fine Arts (Cuba), and the European Media Arts Festival (Germany). Recent concerts include: John Donald Robb Composers' Symposium at UNM and the Southwest Festival of New Music (New Mexico) and the Riverside Art Museum (RAM) in Riverside, California.